This is possibly my all time favourite piece. I always say, within the notes of this piece lie the answers to the universe, but .... when it is performed, very few performances get the ending right, for instance this one. It's like the way the ending music of films is talked over, and nowadays on these streaming services is cut off completely. We live in a 'What's next?' society. The ending of this piece is supposed to gradually, repeat GRADUALLY fade off into the distance untill you are not quite sure when the music stops and the silence begins. There is not supposed to be a rush to finish the piece and get onto the next one. The ending of this version faded out WAY too quickly. WAY too quickly, I repeat WAY WAY WAY too quickly. Why are so many conductors of this piece so eager to get it done. Of course it could have been the sound engineer, but I've heard live performances by professional orchestras who do the ending just as badly, in many cases you can actually heard the choir stop singing. That is not supposed to happen, you are not supposed to hear that. Please performers of this piece, there is no rush, get into the piece, if you are not entranced and hypnotised by the ending of this wonderfull piece I suggest there must be something missing within your soul.
@@babecha9141 Yeah, I can see that. At the time, I considered the Flute chords as they're own separate entity. In that context, the Ab in the Violas and Harps could be considered a chromatic mediant, as well.
There's quite a lot that I don't see in my score. For example, measure 3, I don't see a 7th (B) or a 9th (D#) in that chord on beat 2. There are several other places where I'm similarly confused by notes in your reduction that simply aren't present in the score. For example, measure 61, I cannot find the B and D# on beat 1 or the D# on beat 2. Also, measure 77, the chord is clearly a B7 in the horns not an F#7. My guess is that these are transposition errors. What score did you use as a source? Still, all in all, the reduction is a pretty heroic effort.
Nice thoughtful score analysis! Where did you get the full score to this piece? Also another question, I’m assuming the numbers besides each note indicate the degree of the chord each instrument is playing. What’s the difference between the dashes and the commas?
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Hi, first time here looking for your analysis, thank you for this great work you did. Is there any explanation about the lists you include in your analysis? at first seems a little confusing to see all these numbers with parentheses etc, I think lists are set of notes o scale degrees played by particular instruments depending on the harmony played is´n it?. Do you have an explanation or a way to clarify this system? Thank you.
you share this for free? wow, what a generous person you are. Do you have paypal so people could have the option of one-time donation other than patreon?
I can clearly see the Lydian mode listed in the brighter major statements of the Journey to the Island portion of this theme. No wonder that portion of the theme sounds bright, grand, and bold.
Thanks for putting all the work to condense these scores! I noticed the first chord on measure 40 should have A naturals, not A flats. Measure 38 also.
Thank you so much for this, I am doing an arrangement (completely different style) of this, and seeing this really helps me get a grasp of it. I'll make sure to credit you when I put it out.
Jeez. This theme keeps jumping between musical modes and scales. One moment it’s Dorian, the next moment it’s mixolydian, the next it’s Phrygian, and the next it’s Lydian. It just doesn’t stick to a single mode.
Really fun thing, very impressive! I've been looking for an analysis like this which really breaks down all chords, it might not be very useful for understanding the piece but it's interesting for us nerds nonetheless;) However after a quite quick look i already found a couple of mistakes, so i wouldn't blindly trust all of it...
Thank you for your help, I’m learning the chimes to this and I am struggling the most with this piece and Uranus more than any other piece from planets. This really helps me understand the context of my part with the orchestra, thanks!
@@nmkmusic6396 functions of the chord in the key (I, II, III etc.). Functional harmony allows a higher level of abstraction and it's easier to understand what particular chord means in the key and overall logic of development, since Western classical music is basically built on modulations. Just in case my explanation is incoherent you can read more here: en.wikipedia.org/wiki/Function_(music) Don't get me wrong, I really appreciate your work, it's just I was trained on the system of functional harmony and it's really weird for me to see analysis with chord names written the same way as in jazz or pop music, so I was wondering if is this a difference in practice between different countries or a conscious choice not to use functional harmony.
@@DariaSemikina in my opinion this is a much better way to look at a piece like this -- functional harmony analysis works for Bach or Beethoven but once you start diving into jazz harmony etc it makes much more sense to just list the chord. I find functional harmony to be useful but man it gets annoying when you start reaching out of traditional changes and start borrowing from different modes etc - it all becomes needlessly complex
This takes me right back to hearing the theme tune in full surround sound at my local Odeon cinema multiplex last April for the 45th anniversary. Absolutely epic!
You might laugh, literally at the last few days I started reading the score with the aim to make a score reduction of it and upload it here on youtube. Unfortunately(or actually fortunately), you did it before me. Well, now reading the score will be much easier. Here's my first attemp with the score of Samuel Barber Adagio for Strings: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-lo1Njsir_lM.html Thanks
Love the song! I do think that at measure 364 (6:46 timestamp), the interval of the middle staff (the one playing the triplets) is wrong. It should be playing D-C-D-E-F, instead of what is shown at G-F-G-A-Bb